DOCSLIB.ORG

Unter Dir Die Stadt

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Unter Dir Die Stadt UNTER DIR DIE STADT Een film van Christoph Hochhäusler In Nederland uitgebracht door ABC/ Cinemien Release 21 april 2011 UNTER DIR DIE STADT - SYNOPSIS Wanneer Svenja en Roland elkaar tijdens een kunsttentoonstelling ontmoeten is er direct een aantrekkingskracht. Maar ze zijn beiden getrouwd en handelen er niet naar. Dagen later komen ze elkaar bij toeval weer tegen. Tijdens het drinken van een kop koffie spelen de twee met de onverklaarbare fascinatie die ze voor elkaar hebben. Svenja is nieuwsgierig, maar blijft trouw aan haar man. Roland, een invloedrijke bankier bij de bank waar Svenja’s man werkt, is gewend om te krijgen wat hij wil. Hij zorgt er voor dat de man van Svenja overgeplaatst wordt naar Indonesie. Svenja, niet op de hoogte van de acties van Roland, kan de verleiding daarna niet langer weerstaan.... UNTER DIR DIE STADT ging in première in het Cannes competitieprogramma Un Certain Regard. De regisseur, Christoph Hochhäusler, maakte eerder films FALSCHER BEKENNER (I AM GUILTY, 2005) en MILCHWALD (THIS VERY MOMENT, 2003). UNTER DIR DIE STADT / 110 minuten/ 35 mm / Duitsland 2010/ Duits gesproken UNTER DIR DIE STADT wordt in Nederland gedistribueerd door ABC/Cinemien. Beeldmateriaal kan gedownload worden vanaf: www.cinemien.nl/pers of vanaf www.filmdepot.nl. Voor meer informatie: ABC/ Cinemien, Gideon Querido van Frank, [email protected] UNTER DIR DIE STADT – CAST & CREW Svenja Steve.......................................Nicolette Krebitz Roland Cordes ...................................Robert Hunger-Bühler Oliver Steve........................................Mark Waschke Claudia Cordes ..................................Andrew Lau Werner Löbau …………………….......Wolfgang Böck Herman Josef Esch ............................Paul Faβnacht Uwe Maas ..........................................Oliver Broumis Frank Kressnick .................................Robert Schupp Director .............................................. Christoph Hochhäusler Screenplay........................................ Ulrich Peltzer, Christoph Hochhäusler Director of Photography…………….. Bernhard Keller Editor …………………………………. Stephan Stabenow Production design ……………….. ….Tim Pannen Costume design……………………….Birgitt Kilian Casting ……………………………….. Ulrike Müller Producer …………………………....... Bettina Brokemper UNTER DIR DIE STADT – CHRISTOPH HOCHHÄUSLER De Duitse regisseur werd in 1972 geboren in München. Hochhäusler studeerde eerst architectuur in Berlijn om vervolgens naar de filmacademie in München te gaan. Tijdens deze periode richtte Hochhäusler het filmtijdschrift Revolver op. Nu geeft hij, naast zijn werk als regisseur, les op verschillende universiteiten als Harvard en de DFFB in Berlijn. UNTER DIR DIE STADT is Hochhäuslers derde lange speelfilm. Zijn tweede film FALSCHER BEKENNER (2005) was net als UNTER DIR DIE STADT officieel geselecteerd voor het Cannes competitieprogramma Un Certain Regard. Filmografie 2010 UNTER DIR DIE STADT 2005 FALSCHER BEKENNER 2003 MILCHWALD UNTER DIR DIE STADT – NICOLE KREBITZ Nicole Krebitz (1972) stond als jong meisje al voor de camera. Vanaf hier tiende was zij te zien in verschillende TV-, film- en theaterproducties. Op haar 32e won Krebitz een Gouden Camera voor haar optreden in de film SO SCHNELL DU KANNST. Maar het bleef niet alleen bij acteren: sinds 2001 produceert en regisseert Krebitz ook haar eigen films. Haar korte film DIE UNVOLLENDETE werd op het Berlinale in 2009 vertoond. Filmografie 2008 LIEBESLIED (Anne Høegh Krohn) 2003 ZWISCHEN TAG UND NACHT (Nicolai Rohde) 2002 SO SCHNELL DU KANNST (Vivian Naefe) 2000 THE TUNNEL (Roland Suzo Richter) 1996 BANDITS (Katja von Garnier) 1994 AUSGERECHNET ZOÉ (Markus Imboden) UNTER DIR DIE STADT – ROBERT HUNGER-BÜHLER Na een studie aan de toneelacademie in Zurich en een studie Theater en Filosofie in Wenen, ging Robert Hunger-Bühler (1953) aan de slag als acteur en regisseur. De zwitser speelde voornamelijk in televisieproducties, zoals GIER en TATORT. UNTER DIR DIE STADT in de woorden van Christoph Hochhäusler unexplainable attraction When Roland’s wife eventually confronts him about his affair, he says: “I have no name for it.” We all consider ourselves rational animals, but we are not, actually. Not the slightest bit. Love might be a deal, but attraction is primal. You meet someone, anyone, and instantly you know you could love or hate him or her. The first thing we know is feeling. That’s dangerous, but despite what we believe, all the logic in the world can’t protect us from animal instinct. For me, cinema is all about this kind of danger. longing for the opposite Svenja and Roland are not on the same social level, and they never will be. He’s part of corporate aristocracy, and he married into old money for a reason. His whole life is dedicated to the game and its rules. He loves deals and deals love him. Svenja’s game is life. She could not care less for the game of big finance. There is this famous phrase by artist Maurizio Nannucci: “You can imagine the opposite.” For me, it means that the opposite follows us, like a shadow, like a nihilistic desire to break up with the comfort we have surrounded us with. We want to get real, to wake up. It’s a confrontational thing. We have the hope to be awakened by someone, an opposite force. One longs for the opposite. This is perhaps the heart of the film. It’s really about losing touch with reality, and about the counter reaction, attaining reality in love, in the body. svenja I have always seen Svenja as someone coming from a floating, unsteady life. Someone for whom it is difficult to say no. Not out of weakness, she is just open, curious to see what will happen next. Unlike her husband Oliver, who is driven by an image, an idea of a life he wants to achieve. But what’s fascinating is how Svenja manages to confuse Roland’s – and our – imagination again and again. Svenja is no victim, no puppet on a string. roland Roland can shape the world to suit his will, at least for some time. He is well aware of his attraction to Svenja and he plays with it right from the start. But he will be taken by surprise that the affair actually matters to him. What comes as a surprise, or more precise: as an accident, is the momentum, the gravity of his feelings. a challenge and a mirror Svenja is Roland’s equal. The only reason she is interesting for him. As a challenge and as a mirror. They resemble each other in their deep sense of loss. They both have no firm ground beneath their feet. Something binds them, but I don’t think these two will grow old together. how power affects love The film is inspired by the biblical story of David and Bathsheba in its basic outline, but with a capitalist aspect. That was the basic idea that I presented to my co-screenwriter Ulrich Peltzer. Someone uses his power for his love and at the same time destroys his love with it. It was just material for us. Many other things were added. This is what I found interesting: How power affects the longing for what we call love. Power transcends (or corrupts) ideology, beliefs, bonds. Power is all about action. Not unlike children destroying sand castles, the powerful love nothing more than the proof of their force. the banking world During our screenplay research, we read books and articles on the banking world – and this was long before the crisis – partly tell-all books, but also a few basics. Then through friends and acquaintances, we met and interviewed middle and executive bankers, all the way up to the CEO. It was very exciting to penetrate and delve into this world. The biggest surprise was to see how irrationally this “cutting edge of capitalism” functions, how unpredictable it is also for those who are allegedly steering it. The crisis finally seemed almost logical… in terms of a correction of an unreliable narrative, a world of numbers that simply couldn’t care less for reality. Because feedback from the factual world is less direct, an incorrect assessment may take years to have an impact. By then, those responsible have long since moved on to other companies. fierce competitiveness “Résumés!” says Roland at one point and means it contemptuously. The question of what résumés mean gradually developed into a leitmotif. At one point, a board member says that Oliver’s CV is AAA+. That’s what it’s all about: everything is rated and evaluated… Fierce competitiveness applies to every large company, but it’s perhaps more extreme in the banking sector because it’s strictly about money, especially in investment banking. Because everyone is working against everyone else, also within their own companies, departments can be systematically provided with one-sided reports, and the result is an unreliable narrative. These are the so-called “meeting report wars”. Competition as a narrative system does not promote the truth, but rather many stories with happy endings, in any case from the perspective of the respective author. If you project this distortion onto the overall market, and given that accountants and rating agencies fail as correctives because they are hopelessly dependent on the firms they are supposed to evaluate, one can imagine very well how the crisis emerged. frankfurt Frankfurt, where the story is set, also plays a role in the film. I know the city very well, but I have never lived there. I’m not a native and I don’t want to sound that way when I describe a place. The only city that I could speak about as a native is Munich. I’ve been living in Berlin for 10 years and I know a lot about its history, etc., but when you grow up in a city you naturally get more intimate perspectives. Nevertheless, there’s a lot in the film that is typical of Frankfurt: money, art, drugs… Frankfurt is Germany’s banking center, and as a banking location the number two in Europe. And it’s a “global city”, a place just big enough that anything could happen there.
Load more

Recommended publications
  • 180917 BIFF Katalog Klein V15.Pdf
    BRAUNSCHWEIG 05. – 11. NOVEMBER 2018 INTERNATIONAL FILM FESTIVAL 8 www.filmfest-braunschweig.de 1 0 2 L A V I T S E F M L I F L A N O I T A N R E T N I G I E W H C S BRAUNSCHWEIG N U A INTERNATIONAL R B 32 FILM FESTIVAL 32 Alfred Hitchcock 2001 M Marlene M Dietrich 2006 2006 ClintC EastwoodC 2011 2011 Whoopi Goldberg 2016 Audrey 2002Tautou 2002 Sean S Connery 2007 2007 2007 Isabella IRossellini 2012 2012 Nina Hoss 2017 C Charly Chaplin 2003 A Audrey A Hepburn 2008 2008 Michael CaineM 2013 2013 Sandrine Bonnaire 2018 Catherine Deneuve 2004 2004 2004 P Paul Newman 2009 2009 2009 NatalieN Portman 2014 2014 J J Johnny 2005 Depp 2005 2005 R Romy R Schneider 2010 2010 2010 Daniel Craig 2015 2 2 1 1 19:29 BRAUNSCHWEIG INTERNATIONAL FILMFESTIVAL INHALT CONTENT 4 Dank / Acknowledgements Vorstand Internationales Filmfestival Braunschweig e.V. Edgar Merkel (1. Vorsitzender), Thorsten Rinke (2. Vorsitzender), Rayk Fenske (Kassenwart), Beate Neigenfind (Schriftführerin), Florence Houdin (Beisitzerin), Evelyn Drewes (Beisitzerin) 5 Unsere Sponsoren / Our Sponsors Festivaldirektor Michael P. Aust Assistenz der Festivaldirektion/Programm Management Karina Gauerhof 6 Grußworte / Greetings Leitung Festivalorganisation Imke Poeschel 9 Die „Europa” für Sandrine Bonnaire / European Actors Award for Sandrine Bonnaire Guestmanagement India von Löwis of Menar 14 Preise des Braunschweig International Film Festival / Prices of the Braunschweig International Film Festival Finanzen Anja Hinderer, Angelika Hoffmann (Mitarbeit) Sponsorenbetreuung Frank Terhorst, Edgar Merkel, Thorsten Rinke, Marc-Aurel Jensen 15 Jurys / Juries Leitung Presse- und Öffentlichkeitsarbeit Frank Terhorst 19 Wettbewerb „Der Heinrich” / Competition “Der Heinrich” Assistenz Presse- und Öffentlichkeitsarbeit Julia Rutkovska 27 Neues Internationales Kino / New International Cinema Filmvermittlung Kristina Schippling Ticketing Sarah Schygulla 35 Prime Time PraktikantInnen Clara Hense, Jessica Gotschlich, Marlene Kaiser, Viktoria Maillard 39 Beyond: No Surrender.
    [Show full text]
  • The Summer Issue
    GFQ3_18_Druckvorlage.qxp_Layout 1 25.07.18 14:47 Seite 1 GFQ GERMAN FILMS QUARTERLY THE SUMMER ISSUE IN LOCARNO Concorso internazionale GERMANY. A WINTER’S TALE by Jan Bonny Piazza Grande WHAT DOESN’T KILL US by Sandra Nettelbeck Concorso Cineasti del presente ALL GOOD by Eva Trobisch IN VENICE In Competition NEVER LOOK AWAY by Florian Henckel von Donnersmarck DIRECTORS Angela Schanelec & Robert Schwentke PRODUCERS Schiwago Film ACTOR Bjarne Mädel ISSUE 3-2018 GFQ3_18_Druckvorlage.qxp_Layout 1 25.07.18 14:47 Seite 2 CONTENTS GFQ 3-2018 18 20 23 24 26 28 29 30 32 35 36 36 2 GFQ3_18_Druckvorlage.qxp_Layout 1 25.07.18 14:47 Seite 3 GFQ 3-2018 CONTENTS IN THIS ISSUE PORTRAITS NEW DOCUMENTARIES LIFE IN THE TIME OF NO BELONGING DEFENDER OF THE FAITH A portrait of director Angela Schanelec .......................................... 4 Christoph Röhl ................................................................................. 34 AT HOME IN TWO WORLDS DIE GEHEIMNISSE DES SCHÖNEN LEO A portrait of director Robert Schwentke ......................................... 6 THE SECRETS OF HANDSOME LEO Benedikt Schwarzer .............. 34 HANDS ON PRODUCERS STILLER KAMERAD A portrait of Schiwago Film .............................................................. 8 SILENT COMRADE Leonhard Hollmann .......................................... 35 IN SEARCH OF NEW CHALLENGES SUNSET OVER MULHOLLAND DRIVE A portrait of actor Bjarne Mädel ....................................................... 10 Uli Gaulke .........................................................................................
    [Show full text]
  • Oliver Broumis, S.1/5
    Oliver Broumis, S.1/5 Oliver Broumis Foto: Cordula Treml Schauspieler Kontakt Ute Bergien Felix Bloch Erben : Agentur und Management +49 (0) 30-315 729 101 [email protected] Künstlerhomepage http://www.oliverbroumis.com Jahrgang 1964 Größe 181 Augenfarbe braun Haarfarbe braun Sprachen Deutsch (Muttersprache) Englisch - Amerikanisch (fließend) Französisch (Schulkenntnisse) Weit. Fähigk. Führerschein - Auto (B) Sport - Fechten Sport - Reiten Ausbildung 1995 - 2012 MK Lewis, Cherolin Franklin, Björn Johnson/ Los Angeles 1986 - 1989 Hochschule für Musik und darstellende Kunst Hamburg Auszeichnungen 2018 "Was uns nicht umbringt" - Nominierung Hamburger Produzenten Preis ?Deutsche Kinoproduktion? | Filmfest Hamburg 2018 "Was uns nicht umbringt" - Nominierung Art Cinema Award | Internationaler Verband der Filmkunsttheater (C.I.C.A.E.) 2012 "Unter den Händen" - Nominiert Studio Hamburg Nachwuchspreis 2010 "Frau Böhm sagt nein" - Adolf-Grimme-Preis 2010 "Die Unbedingten" - Nominiert Studio Hamburg Nachwuchspreis 2009 "Frau Böhm sagt nein" - Fernsehfilmfestival Baden-Baden - 3sat-Zuschauerpreis 2006 "Bernhard Grzimek, ein Leben für die Tiere " - Ökofilmtour - Bester künstlerischer Film 2005 "Sergeant Pepper" - Bester Film Toronto International Filmfestival, Young People's Jury Award, Weißer Elefant Filmfest München 2004 "Die Gelegenheit" - Festival d'Angers, Grand Prix du Jury & Starterpreis der Stadt München 2003 "Bella Martha" - Nominierung Goya, Bester Europäischer Film 2002 "Bella Martha" - Nominierung - Deutscher Filmpreis 1997
    [Show full text]
  • Films Cultural Differences
    Thursday 25th, 2005 Cultural Differences in Dialogue Let’s break – Adil is leaving Adil geht, Germany 2005 Running time: 96’00” Director: Esther Gronenborn Screenplay: Esther Gronenborn, Martin Maurer Cast: Ali Biryar, Ahmedin Camdzic, Benjamin Berisha, Semsedin Berisha Camera: Christoph Valentien Editor: Daniela Kinateder Music: Christian Meyer Production: Enrico Demurray, DOKfilm; Cooky Ziesche, RBB Contact: [email protected] About the film: Adil, Jonni, Elvis and Idris are friends and had to leave Yugoslavia with their families a couple of years ago during the civil war. Now they live in Altenburg, a middle sized town in the east of Germany. They are tolerated refugees, but live in between two cultures and every minute they live in fear that they could be deported back to their $home countries. Together they practice for a huge break-dance competition,when they get the news, that Adils family has received the eviction order and has to go back to Kosovo. “Let’s break - Adil is leaving” is based on authentic experiences of young people coming from former Yugoslavia with whom the author of the screenplay, Martin Maurer had several talks while he was developing the screen play. The fact, that most of the cast consists of non-professional actors gives the film a realistic and authentic touch. Winner of the Main Prize “Fliegender Ochse” at the “Filmkunstfestival Schwerin”, 2005, Honorable Mention by the Jury of “Filmfestival Max Ophüls-Preis”, Saarbrücken 2005. About the director: Esther Gronenborn, born 1968, started filmmaking with 17 years, when she was directing her first experimental films. In 1988 she belonged to the founders of WAND 5, an organization which is responsible for the festival “Stuttgarter Filmwinter”.
    [Show full text]
  • The City Below
    THE CITY BELOW a film by christoph hochhäusler SYNOPSIS A man and a woman at an art exhibition share a fleeting moment of attraction, which neither can act upon. Days later, a chance second meeting leads to an innocent coffee and the two strangers – both married – toy with their unexplainable fascination for each other. Svenja is curious and finds herself in a hotel room with Roland, but she does not consummate an affair. A powerful executive at the large bank where Svenja’s husband works, Roland is used to getting what he wants. He manipulates the transfer of her husband to Indonesia to replace a recently murdered bank manager. Unaware of Roland’s actions, Svenja now ceases to resist… From the director of I AM GUILTY aka LOW PROFILE (FALSCHER BEKENNER) and THIS VERY MOMENT (MILCHWALD). COMMENTS from christoph hochhäusler unexplainable attraction When Roland’s wife eventually confronts him about his svenja I have always seen Svenja as someone coming from a floating, unsteady affair, he says: “I have no name for it.” We all consider ourselves rational animals, life. Someone for whom it is difficult to say no. Not out of weakness, she is just open, but we are not, actually. Not the slightest bit. Love might be a deal, but attraction is curious to see what will happen next. Unlike her husband Oliver, who is driven by an primal. You meet someone, anyone, and instantly you know you could love or hate him image, an idea of a life he wants to achieve. But what’s fascinating is how Svenja or her.
    [Show full text]
  • The City Below
    THE CITY BELOW a film by christoph hochhäusler SYNOPSIS A man and a woman at an art exhibition share a fleeting moment of attraction, which neither can act upon. Days later, a chance second meeting leads to an innocent coffee and the two strangers – both married – toy with their unexplainable fascination for each other. Svenja is curious and finds herself in a hotel room with Roland, but she does not consummate an affair. A powerful executive at the large bank where Svenja’s husband works, Roland is used to getting what he wants. He manipulates the transfer of her husband to Indonesia to replace a recently murdered bank manager. Unaware of Roland’s actions, Svenja now ceases to resist… From the director of I AM GUILTY aka LOW PROFILE (FALSCHER BEKENNER) and THIS VERY MOMENT (MILCHWALD). COMMENTS from christoph hochhäusler unexplainable attraction When Roland’s wife eventually confronts him about his svenja I have always seen Svenja as someone coming from a floating, unsteady affair, he says: “I have no name for it.” We all consider ourselves rational animals, life. Someone for whom it is difficult to say no. Not out of weakness, she is just open, but we are not, actually. Not the slightest bit. Love might be a deal, but attraction is curious to see what will happen next. Unlike her husband Oliver, who is driven by an primal. You meet someone, anyone, and instantly you know you could love or hate him image, an idea of a life he wants to achieve. But what’s fascinating is how Svenja or her.
    [Show full text]
  • Cover 3 04-Titel
    German Films Quarterly 3 · 2004 GERMAN FILMS AT THE SUMMER FESTIVALS GERMAN FILM AWARD ... and the winners are... FOCUS ON German Private Media Funds german films quarterly 3/2004 focus on 4 GERMAN PRIVATE MEDIA FUNDS directors’ portraits 16 EXPLORING NEW TERRITORIES A portrait of Dani Levy 18 BEYOND WORDS A portrait of Maria Speth producer’s portrait 20 STORIES FOR A WIDER AUDIENCE A portrait of Relevant Film actor’s portrait 22 NO COLD FEET A portrait of Birol Uenel 24 news in production 28 ANTIKOERPER Christian Alvart 28 DER BAUM DER WUENSCHE Rolf Schuebel 29 GALATASARAY – DEPOR Hannes Stoehr 30 GENERATION Mait Laas, Cristian Mungiu, Nadejda Koseva, Jasmila Zbanic, Kornel Mundruczo, Stefan Arsenijevic 30 GESPENSTER Christian Petzold 31 GRENZVERKEHR Stefan Betz 32 ICH LEBE Dagmar Knoepfel 32 LAND’S END Alex Ross 33 NIMM DIR DEIN LEBEN Sabine Michel 34 OFSAYT Buket Alakus 34 SOPHIE SCHOLL – DIE LETZTEN TAGE Marc Rothemund 35 ZEPPELIN! Gordian Maugg new german films 40 AGNES UND SEINE BRUEDER AGNES AND HIS BROTHERS Oskar Roehler 41 DIE BLUTRITTER RIDERS OF THE SACRED BLOOD Douglas Wolfsperger 42 DIRTY SKY Claude-Oliver Rudolph 43 EN GARDE Ayse Polat 44 HEIMAT 3 – CHRONIK EINER ZEITENWENDE HEIMAT 3 – A CHRONICLE OF ENDINGS AND BEGINNINGS Edgar Reitz 45 IN DIE HAND GESCHRIEBEN GRAVEN UPON THY PALM Rouven Blankenfeld 46 DAS JAHR DER ERSTEN KUESSE FIRST KISS Kai Wessel 47 KAMMERFLIMMERN OFF BEAT Hendrik Hoelzemann 48 LAND OF PLENTY Wim Wenders 49 NACHBARINNEN WANTED! Franziska Meletzky 50 NAPOLA Dennis Gansel 51 DER NEUNTE TAG THE NINTH DAY
    [Show full text]
  • Newsletter 18/11 DIGITAL EDITION Nr
    ISSN 1610-2606 ISSN 1610-2606 newsletter 18/11 DIGITAL EDITION Nr. 301 - November 2011 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 11 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 18/11 (Nr. 301) November 2011 editorial Hallo Laserdisc- und DVD- werden es uns danken, denn Aus- kann die so gewonnene Freizeit Fans, gabe 301 erfreut sich wieder einer gut gebrauchen. Wir wünschen ihr liebe Filmfreunde! Heftklammer im linken oberen jedenfalls bei ihrer Prüfung viel Eck. Dem Blättersalat ist damit Glück! Und unseren Lesern wün- Nach unserer Mammutausgabe mit vorgebeugt. Um das Ganze dann schen wir wie immer gute Unter- über 100 Seiten wollen wir es im auch noch mit etwas Grafik auszu- haltung auf den nächsten 58 Sei- jetzt vorliegenden Newsletter mal statten, haben wir auf Annas Ko- ten. wieder etwas traditioneller halten. lumne “Hallo Hollywood...hier So ist es uns gelungen, die wichtig- spricht Anna” bewusst verzichtet. Ihr Laser Hotline Team sten Informationen dieses Mal in Und das ist auch gut so. Denn un- knappe 60 Seiten zu quetschen. serer Kolumnistin steckt gerade Abonnenten unserer Print-Version mitten in ihrer Diplomprüfung und Stoff für kalte Winternächte aber sagen Sie hinterher nicht wir hätten Sie nicht gewarnt LASER HOTLINE Seite 2 Newsletter 18/11 (Nr. 301) November 2011 LASER HOTLINE Seite 3 Newsletter 18/11 (Nr. 301) November 2011 Wolfram Hannemanns Film-Blog Montag, 17. Oktober 2011 Gwyneth Paltrow beispielsweise, 5.1) Katastrophenkino für die in der Rolle der Beth Emhoff zu OT: Habemus Papam Anspruchsvolle sehen ist, stirbt innerhalb den er- Verleih: Prokino (Fox) Dass ein Katastrophenfilm nicht sten zehn Minuten des Films und Land/Jahr: Italien, Frankreich 2011 immer unglaublicher visueller Ef- taucht nur noch in Überwachungs- Regie: Nanni Moretti fekte bedarf, um Spannung aufzu- videos auf.
    [Show full text]
  • DUBAI HC D6 051710-Ver2.Indd 1 5/4/10 12:07 PM Windows®
    6 dailythe Cannes Monday, May 17, 2010 thr.com/cannes DUBAI HC D6 051710-Ver2.indd 1 5/4/10 12:07 PM Windows®. Life without Walls™. HP recommends Windows 7. HP’S LA SELECTION OFFICIELLE HP BEST SPECIAL EFFECTS HP PAVILION DV6 Our latest lines in design. The HP Pavilion dv6 Entertainment PC is stunning from every angle. Its 15.6" high-definition widescreen provides an amazing cinema experience. See your world in a new light and enjoy a vivid and smooth visual experience with VISION Technology from AMD. Beautifully designed inside and out, now every detail enriches your mobile life. hp.com/fr/cannes © 2010, Advanced Micro Devices, Inc., AMD, the AMD Arrow logo and combinations thereof are trademarks of Advanced Micro Devices, Inc. © 2010 Hewlett-Packard Development Company, L.P. All rights reserved. HP_D6_05_17_10.indd50035Hp festival cannes_210X297 1 HRD DV6.indd 1 5/10/1005/05/10 1:33 15:26 PM day6_p1,36,37 n1_c.qxd:001THRD6_n1 5/16/10 8:22 PM Page 1 the Cannes Q&A This filmmaking thing is working out for Charles Ferguson. SEE PAGE 6 Monday dailyMay 17, 2010 THR.com/cannes 6 Walken ready to sow some Focus,Sonyhit‘Hanna’ Sierrashows‘Money’;TMG,Medusahave‘Passengers’ ‘Wild Oats’ By Stuart Kemp and Scott Roxborough By Jay A. Fernandez ocus Features and Sony Pic- hristopher Walken is tures Worldwide Acquisi- negotiating to join the tions Group sliced and LE SEGRETAIN/GETTY IMAGES F Caction-comedy “Wild diced rights to Joe Wright’s Oats,”from writer Claudia Saoirse Ronan-starring teenage Myers and director Scott assassin thriller “Hanna” as Marshall.
    [Show full text]
  • Female Characters in Turkish German Cinematic Space: an Analysis with Examples of Three Recent Films
    Female characters in Turkish German cinematic space: an analysis with examples of three recent films Michelle Robertson Bachelor of Arts (Hons) Macquarie University Department of International Studies, Faculty of Arts 20th December 2012 This thesis is presented for the degree of Doctor of Philosophy. Contents 1. Introduction 1 2. Immigration and multiculturalism in Germany 5 2.1 From ―kein Einwanderungsland‖ to the ‗Multi-Kulti-Gesellschaft‘ 5 2.2 Reassessing immigration and the nation: the path to citizenship in Germany 24 2.3 Everyday multiculturalism in Germany 36 3 Nation and gender in German cinema 61 3.1 Building the nation: depicting the German man and woman 61 3.2 Gendered nation and gendered immigration: a brief history of post-war German cinema 72 3.3 ‗Turkish-German cinema‘ and after: at home in transnational space 86 4. Analysing transnationalism in film: theoretical frameworks 120 4.1 Concepts of national cinema 120 4.2 Terminological considerations 130 4.3 Feminist perspectives and film analysis 143 4.4 Film selection 146 5. Film analyses 154 5.1 Head-On/Gegen die Wand (dir. Fatih Akın, 2004) 154 5.2 The Edge of Heaven/Auf der anderen Seite (dir. Fatih Akın, 2007) 180 5.3 When We Leave/Die Fremde (dir. Feo Aladağ, 2010) 202 6. Turkish-German female identities in transnational cinematic space 225 7. Conclusion 241 Bibliography 244 Filmography 260 ii Abstract This thesis shows how the female characters of recent ‗Turkish-German‘ films are situated in transnational, frequently transcultural space, in which they have greater self-determination and individuation compared to characters in earlier films.
    [Show full text]
  • Rot = Länger Nicht Zurück Gemeldet
    Produktionsspiegel Stand: Februar 2018 KRIEG DER TRÄUME Genre: Dokumentarische Drama-Serie, TV Produktion: LOOKS Film & TV Produktionen GmbH, Leipzig Produzenten: Gunnar Dedio, Serge Lalou, Nicolas Steil Buch: Jan Peter, Frederic Goupil, Camilla Ahlgren, Jean-Louis Schlesser Regie: Jan Peter, Frederic Goupil Kamera: Jürgen Rehberg Ton: Marc Thill Schnitt: Susanne Schiebler, Antje Zynga, Thialy Sow, Ursula Pürrer, Elisabeth Juste, Ulf Albert Darsteller: Joel Basman, Roxane Duran, Jan Krauter, Michalina Olszanska, Michael Olszanska, Natalia Witmer, Solène Rigot, Robinson Stévenin, Rebecka Hemse, Alexandre Nguyen, Gennaro Cannavacciuolo, David Acton, Charlotte Merriam, Pyotr Skvortsov Föderung: Mitteldeutsche Medienförderung, MFG Filmförderung Baden-Württemberg, Creative Europe, CNC, Film Fund Luxemburg, Strasbourg Eurométropole, Région Grand Est, Procirep/Angoa, Belgique Tex Shelter, DMPA, SACEM, Sofitvciné & Cofinova Drehort: Luxemburg, Frankreich, Belgien, Deutschland, Niederlande Drehzeit: April – Juli 2017 Fertigstellung: Juli 2018 Premiere: September 2018 Stand: Postproduktion Homepage: http://www.looksfilm.tv/ Kontakt: Gunnar Dedio: [email protected] 25 KM/H Genre: Spielfilm, Komödie, Kino/TV Produktion: Sunny Side Up GmbH, Berlin Koproduktion: Pictures in a Frame GmbH, Mythos Film Produktions GmbH & Co. KG, Traumfabrik Babelsberg GmbH Produzent: Markus Goller, Oliver Ziegenbalg Buch: Oliver Ziegenbalg Regie: Markus Goller Kamera: Frank Griebe Ton: Christoph Köpf Schnitt: Markus Goller Darsteller: Lars Eidinger, Bjarne Mädel, Sandra
    [Show full text]
  • Downloading The
    WELCOME HERZLICH WILLKOMMEN alace Cinemas in collaboration with German of the Federal Republic of Germany co-presenting P Films is excited to again bring the best German a contemporary selection of German films that take language cinema to you in 2019. Building on the a new look back at the GDR in our programme success of last year, this edition will screen 31 feature strand Tear Down The Walls. films expanding to 15 locations and opening with Michael “Bully” Herbig’s Balloon. A special thank you to our cultural partner the Goethe-Institut who are again presenting KINO With 29 Australian premieres and a festival line- FOR KIDS, a showcase of six films for our younger up that includes box office hits and award-winning audiences and families as well as co-presenting our dramas straight from this year’s Berlinale, the festival “100 Years of Bauhaus” special. We would also is a fantastic celebration of German culture and like to thank our generous sponsors and partners filmmaking. Including productions from neighbouring for their support. Austria and Switzerland, the festival showcases the creativity and diversity of the region. From thrillers We wish you an entertaining and exciting German and historical productions to feel-good comedies, festival experience! this year’s films will amuse, inspire and entertain. Film ab! Marking the 30th anniversary of the fall of the Berlin Wall in 2019 we’re pleased to have the Embassy THANK YOU TO OUR SPONSORS PRESENTED BY SUPPORTING PARTNERS CULTURAL PARTNERS 2 CONTENTS OPENING NIGHT BEYOND BERLIN: Balloon ......................................................... 5 AUSTRIAN CINEMA Cold Feet ....................................................
    [Show full text]